Directed by George King, Thumbs Up for Mother Universe: Stories from the Life of Lonnie Holley is a documentary resource that offers an intimate and powerful biographical account of Lonnie Holley, an Alabama-based visual artist and musician, spanning an impressive 22 years of filming. The documentary is a compelling exploration of Lonnie Holley's life, his creative process, and the profound impact of his art on those who encounter it. Often described as an outsider or folk artist, Lonnie Holley is much more than that.
Lonnie Holley's life is a testament to the indomitable human spirit–growing up in dire poverty, one of 27 siblings, and later sold to the McElroy family for a pint of whisky. He grew up in a brothel as "Tonky McElroy," a name that masked his true identity.
Yet, Lonnie's innate creativity emerged even in these challenging circumstances, using his art as a salve for the hardships he endured. After a tragic event that resulted in the loss of his sister’s two children, Lonnie found solace in carving sandstone, a practice that distracted him from the pain of the event. Lonnie always had a knack for making things, and this early inclination toward creation laid the foundation for his later artistic journey.
Lonnie's approach to art is unconventional and deeply rooted in his life experiences, as well as conservation, ecology, African-American history, and culture; he repurposes discarded materials to create his artwork, effectively transforming trash into treasures. “The harvest is plentiful, but the harvesters are few.” His artistic philosophy is summarized when he states, "My art [is] for the mind, not for the wall." He saw art as a way to express himself, regardless of societal expectations or the need for formal training. This approach is a testament to his determination and belief that art can be made from anything. Lonnie questions “When is an object or a piece of material no more good to the mind of man?”
Due to his upbringing, Lonnie became very resourceful, seeing the value in everything, in particular the sentimental value that objects hold. “Before it went to the burial site. We want to look at dumps and call them for what they are. They're burial sites.” In the practice of repurposing trash, he gives these objects new life, resurrecting and honoring them. Lonnie’s work is evocative of the treatment and dismissal of African Americans at large, with educator and historian James Tyler commenting: “I see the things he’s doing and I think about the history of African people here in this country and how so many of us are marginalized and discarded.”
The documentary showcases Lonnie's conceptual yard environment, a testament to his dedication and immense creativity. He incorporates a wide range of materials, turning them into intricate and thought-provoking sculptures and installations. Artist and curator Kevin Sipp notes “There is a way of creating art in the Americas, that I think is very central to the African Diaspora. This idea of Montage collage, sampling, compositing, stitching, and quilting things together” It is clear that there Great deal of love, care, and intention behind every piece Lonnie creates.
Despite his remarkable talent, Lonnie Holley initially struggled for recognition in the art world. Lonnie's journey took a significant turn when he met Bill Arnett, an art collector who recognized the value of Lonnie's work. Bill saw the significance in Lonnie's art and passionately advocated for him within the art community–this pivotal encounter changed the trajectory of Lonnie's career and marked a turning point in his life.
Lonnie's creative output extends beyond visual art. He creates entirely improvised music, describing himself as "the living example of the Blues in America." His music is raw, original, and unfiltered, reflecting his unique life experiences and outlook. It serves as a complement to his visual art, illustrating his multifaceted creative talents.
Even as Lonnie's art gains recognition, from being published in art books and magazines to having his work displayed at institutions like the Metropolitan Museum of Art, he remains true to his core values. He creates art for the love of it, not for profit or fame. He is a testament to the purity of artistic expression, reminding viewers that the essence of art lies in the act of creation itself.
While the documentary follows a conventional format, paradoxical to Lonnie’s unconventional work, it does an adequate job showcasing his unique artistic style and his passion for making art not for recognition or profit but out of love, and Lonnie’s insights challenge viewers to reconsider what constitutes art. The documentary has received accolades and awards at various film festivals, including the Daniel Wood Audience Award at the Fine Arts Film Festival, Best Documentary at the Harlem International Film Festival, and more, as well as screenings at prominent museums across the country.
Thumbs Up for Mother Universe: Stories from the Life of Lonnie Holley is a thought-provoking documentary that challenges viewers to reconsider their understanding of art. This documentary resource is a testament to the transformative power of art and the human spirit.
How would audiences react to this screening?
Audiences will be inspired by the story of Lonnie Hollie, It sheds light on an extraordinary man who, despite the harshest of circumstances, found his voice through creativity.
What subjects or college majors would benefit from the content covered in this film?
Students majoring in the Fine Arts, as well as Art History and African-American Studies, will benefit from a viewing of Thumbs Up.
Would this film be suitable for a public screening?
Thumbs Up for Mother Universe: Stories from the Life of Lonnie Holley would be a great choice for screenings at art and festivals, museums, and seminars.
Director's Bio
George King is a UK national living in Atlanta in the southeast United States. As a writer/producer/director of nonfiction film, television radio, and theater projects, his work has consistently won national and international acclaim (Peabody, Cine Golden Eagles, Golden Reels, nominated for Prix Italia, etc.) and garnered revues in the U.S. national and regional press (CNN, New York Times, Los Angeles Times, Boston Globe, Chicago Tribune, Atlanta Journal-Constitution, etc.). He has also taught film, video, and radio production on the faculty of colleges and universities and through workshops in Europe, Asia and the United States.
George’s work addresses diverse subjects such as race, civil rights, art & culture, the environment, labor, education, poverty, housing, and community development. He has always involved broad community participation to ensure the work accurately reflects historical and cultural truths. In this documentary, in addition to community focus groups, George also worked closely with a core team of African American colleagues including among others, artist and activist Charmaine Minniefield, scholar and musician Mausiki Scales, sociologist Kali-Ahset Amen, and filmmakers Sam Pollard and Lewis Erskine.
Director's Statement
During the 1990s, I became intrigued by the emergence of a body of passionate, content-driven visual art in the American South, mainly from self-taught Black artists. I set out to research a potential film and then I met Lonnie Hollie. Lonnie was a strong, articulate, highly intelligent Black man with a prolific art-making practice - why look further?
At the time, Holley was living hand to mouth, raising five kids as a single parent while living in a condemned house and covering his 2-acre yard with art. So began a 22-year journey with Holley and his extended family. My interest was to peer under the skirts of the art world’s practices and to make a film that would challenge the audience’s assumptions about what art is, who gets to make it, the creative process, and Black culture in the southern U.S.
The noted folklorist, Henry Glassie’s words were my compass: “For a full century we’ve been taught that it is perfectly fine to have other people in the record, but having them in the record and respecting them are two different matters. If what they do is art then we have got to respect it; if we respect it then they might not just be our equals, they might be our superiors.”
The film also records a life of endurance, and ultimately triumph, with the potential to inspire the creativity of young people of color. Along the way, the film touches on environmental issues, recycling, scarce resources, self-education, mental health, and spirituality, as well. In short, the film can provide valuable insights in fomenting conversations and discourse on a variety of subjects - for art students, it is proving invaluable.
Accolades
"I enjoyed it tremendously! It is sensitive, moving, and powerful. Such an important project." - Leslie Umberger, Curator, Folk & Self-Taught Art | Smithsonian Museum of American Art
“Thumbs Up for Mother Universe is the most fascinating documentary about an artist’s life that I have ever seen. Lonnie Holley is a national treasure.” - Márcia Minter, Executive Director | Indigo Arts Alliance
“This film depicts an artist in the truest sense—free of self-promotion and ego. He is the art, and it is him. An inspirational documentary.” - James McDaniel, Jury Chair | Harlem International Film Festival
"An intimate reflection on the greatest imagination of our time. An essential story, never told so completely.” - Jordan Young | South Arts
“It's so moving and beautiful beyond words.” Daniel Arite | Bosch Institute
“It reminded me of the power of art to heal and connect people in ways that are hard to explain. Thumbs Up caught me by surprise! It truly is a gem.” - Leslie Dungee, Audience Member | American Visionary Art Museum
“I am floored. I loved this film.” Steve Kopian | Unseen Films
“It would really work well for my environmental classes where we are thinking about attitudes toward consumer, disposable, commodity culture - questions about ‘What is waste?’” - Ellen Griffith Spears, Writer, Professor, Environmental Studies | University of Alabama
Awards
Funded in part by the National Endowment for the Arts, the film won the following awards:
- Daniel Wood Audience Award | Fine Arts Film Festival | Venice, California
- Best Documentary | Harlem International Film Festival | Harlem, New York
- Best Feature Film | Black Harvest Film Festival | Chicago, Illinois
- Audience Award | Tallgrass Film Festival | Wichita, Kansas
- Best Documentary | Bronze Lens Film Festival | Atlanta, Georgia
Festivals and Special Screenings
- Fine Arts Film Festival | Venice, California
- Harlem International Film Festival, | Harlem, New York
- Black Harvest Film Festival | Chicago, Illinois
- Tallgrass Film Festival | Wichita, Kansas
- Bronze Lens Film Festival | Atlanta, Georgia
- Cucalorus Film Festival | Wilmington, North Carolina
- Richmond International Film Festival | Richmond, Virginia
- Montgomery Film Festival | Montgomery, Alabama
- Baltimore International Black Film Festival | Baltimore, Maryland
- Charlotte Film Festival | Charlotte, North Carolina
- Tallahassee Film Festival | Tallahassee, Florida
- Toronto Black Film Festival | Toronto, Canada
- Plaza Theater | Atlanta, Georgia
- Cine | Athens, Georgia
- Birmingham Museum of Art | Birmingham, Alabama
- Museum of Fine Arts | St. Petersburg, Florida
- American Visionary Art Museum | Baltimore, Maryland
- American Folklore Society Annual Meeting | Indianapolis, Indiana
- National Museum of Art | Washington, D.C.